Theater Mu's peerless Stands On Its Own

The dark saga of teen girlhood continues on

Photo by Rich Ryan

What is it about teenaged girls that imbues our society with such a primal fear?

Photo by Rich Ryan

There is a rich heritage of horror narratives about girls around the age 16 mark. Sometimes they're heroes (Buffy the Vampire Slayer, natch), but more often they are complicated villains (here's looking at you Heathers and Mean Girls) or even veer towards to outright horrifying (think Stephen King's gruesome Carrie or the all-male Lord of the Flies).

Photo by Rich Ryan

The latest new work from Theater Mu (now showing at the Gremlin Theater in St. Paul through February 16) stands smack on the Carrie end of the spectrum. peerless details two sisters who are nearly identical in appearance and are well on their way towards achieving lofty ambitions despite their young age. When they are not accepted immediately into the prestigious Ivy league college that is the foundation of their future plans, the sisters panic and take drastic (and I mean DRASTIC) action to eliminate their competition, both among school peers and even a former boyfriend. They soliloquize plenty of soul crushing assumptions about race, class and gender along the way, and learn with the help of a clairvoyant classmate that even accurate predictions do not always result the way they seem they should and that no one can be trusted.

Photo by Rich Ryan

The small cast here often performs double duty, with exception of our leading sisters M and L. Francesca Dawis plays M and Isabella Dawis plays L. They are eerily similar in appearance, and once they got into a flow they seemed like an uneasy mirror of one another. Their yin and yang dynamic tugs the audience through an emotional upheaval, and the Dawis sisters have no fear in taking their characters' darkness all the way. Meredith Casey is convincingly unhinged as the oracle, aka Dirty Girl, whose sickening predictions set the whole wheel of disaster in motion. Kenyai O'Neal is sadly lovely as M's doomed boyfriend BF, and I wished we saw a bit more of his character throughout. Neal Beckman was the bright spot as the charmingly cursed D; his appearances were often the sole spot of humor in the show, an element peerless sorely needed.

Photo by Rich Ryan

The scenic design by Joe Stanley is multitasking and innovative, featuring revolving walls, benches that also serve as beds and TV consoles, and hidden lockers. I enjoyed watching the seemingly simple setting continue to expose new tricks, and it works really well to keep the action fast-paced. Karin Olson's lighting design and Kevin Springer's sound design are dramatic and lend the full creepy feeling to the show. I loved Khamphian Vang's vibrant, color-blocked costuming; it's very vibey and may even have been my favorite element of the whole play.

Photo by Rich Ryan

peerless is self-described as Macbeth for modern teenagers but exploring race issues, and I think that's about right. It's Lily Tung Crystal's first time directing since she was named Theater Mu's artistic director last year, and it's a striking debut. For myself: I have to be honest - peerless was not my flavor of the week. I've enjoyed many texts in this genre, but something about the Jiehae Park's script felt disconnected to me. There are several moments of shocking revelation, especially in the sisters' relations to people of other races. I understand why they were included the way they were and the point they were trying to make, but the resolution of the play to me felt too bare-boned for the complexity of the problems and assumptions named throughout the script. The issues peerless raises are deep and darkly internalized for a lot of us, with devastating consequences for their real-life victims; I really hoped for an honest confrontation about them to help the audience learn from the sisters' mistakes, rather than a simple slash and burn approach to justice (which felt like the easy way out).

That said, if the horror genre is your jam then you will probably find many elements of peerless to like and it seemed much of the audience found this funnier than I did - so why not check it out? peerless was a bold choice for Tung Crystal to open her leadership with, and I'm excited to see what she has next in store. For more information or to get tickets, click on this link.

Theater Mu's Fast Company is a Fun Ride

Dare to keep up with this witty new con caper. 

Photo courtesy of Theater Mu

As we roll into holiday season, the typical reason for the season spiel, while appropriate, can start to get really tired.

Photo by Rich Ryan

I mean I'll readily admit that I'm a Grinch, but be honest: don't you get a little tired of seeing the same kinds of stories this time of year?

Photo by Rich Ryan

If you're anything like me, eschew Christmas this and holiday that and enjoy a show like Theater Mu's Fast Company, a witty new comic-mystery, instead. This story focuses on a family of con-men and miscreants who are so devious that they even betray each other. Blue tries to pull off the heist of a lifetime: swindling a collector out of a rare $1.5 million first edition comic book. It seems ready to go off without a hitch; that is, until her brother H steals it right from under her nose. It turns out that H is in deep gambling debt with a gangster named Jimmy, but unfortunately his theft not only breaks the con-man code but endangers his sister's life as much as his own. Blue turns to her other brother Francis and mother Mable to find a way to con the comic out of H's hands. Her idea, which utilizes game theory, is air tight - except someone else gets it before she can get to H. The rest of the play involves the family tracking each other around the world and immersing into increasingly complex cons to gain equal footing, until a final explosive reveal ends their competition once and for all.

Photo by Rich Ryan

It's not quite what I was expecting but I really enjoyed the wry nature of this story. It's an edgier and more profane play than I'm used to seeing Theater Mu perform, but it was one of the most genuine group performances I've seen them do in a while. The cast all had great chemistry, and if this is any sign of the future from new Artistic Director Lily Tung Crystal I'm really excited about what's ahead. Jeannie Lander has a subtly devious energy as Mable that reminded me of the sly way Michelle Yeoh is playing the evil captain on the new Star Trek: Discovery series, which is to say: I loved her. Ming Montgomery stumbled on a couple of lines but I really liked her overall as Blue. She has a very genuine delivery that made this crazy story believable. Brian Kim was cool as a cucumber as the criminally talented Francis and his energy really drove the show. Rounding out the cast was Eric 'Pogi' Sumangil as the problematic H, who I've had the privilege of seeing in several shows. This might be my favorite performance of his to-date, as he brings a delightful comedic twist to his otherwise troubled character and really lets his warm charisma shine through.

Photo by Rich Ryan

Joel Sass's set echoes the comic book theme of this theatrical caper, and it mostly succeeds. I wish the projections, designed by Miko Simmons, were just a little bit brighter to really bring the theme home; as it is, they feel a bit washed out and don't have the full comic dynamism that could have lent this a Marvel edge. Ash Kaun's costumes are pretty straightforward and each character feels modern and comfortable. There wasn't much special about Karin Olson's lighting design or Montana Johnson's sound design, but everything seemed to run well. Overall, I have to extend a hearty bravo to director Brian Balcom, who has directed several other shows locally and in Chicago but I have somehow missed until now. He coaxed dynamic performances out of this cast and I hope to see his talented hand guiding future #tctheater shows.

Photo by Rich Ryan

Fast Company's closing is quickly approaching, so you have to book it quickly if you want to catch it before the last performance on November 24. For what it's worth, I think you should go. It should be no surprise to long-time readers that Theater Mu has consistently been a local highlight for me, and I'll admit that I was more than a little concerned about their future around this time last year. The company is still early under Lily Tung Crystal's fledgling leadership, but I'm really impressed with what I've seen so far and excited for what's ahead. Fast Company has all the elements I like in plays: it's modern, comedic, includes a mystery and is very approachable for a wide audience. It's a breath of fresh air from heavier dramatic and seasonal fare at this time of year and a great option for a quick pre-Thanksgiving date night. Click here to get your tickets before this little gem of a play is gone.

A Steaming “Hot Asian Doctor Husband”

If you’re a rom com fan, this is the show for you

Photo courtesy of Theater Mu

I’ve waxed ad nauseam about my love for new theater work, and one of my favorite companies consistently celebrating and commissioning new plays is Theater Mu. Their new play, Hot Asian Doctor Husband, is another exciting addition to the catalog and one I think will be traveling around the country for some time.

It goes like this: Emi and Collin seem made for each other – except they’re not. At least in her mind. Emi is mixed race, and the more serious things get with Collin, the more she questions if they have a viable future. She is especially worried about having kids who might not identify with her Japanese heritage. To further complicate things, Emi’s mother, who raised her a single parent and was her last direct link to her ethnic history, recently died in a tragic accident. Emi decides to take a leap of faith and find a “hot Asian doctor husband” to fulfill her fantasy of an idyllic Asian American household, breaking up with Collin and stunning her friends.

The trouble is, of course, that love doesn’t work on preferred timelines and specific fantasies. Emi and especially Collin still have feelings for each other, which is plainly evident when they continue to run into each other after the breakup. Emi does find a hot Asian doctor and it seems like things will work out; the only trouble is that he is already someone else’s husband, which Emi learns in a devastating emotional blow that finally pushes her to confront her unprocessed depression and sadness about her mother’s death. The play goes a little off the rails after the affair with the doctor ends, taking a turn from nippy comedy into a serious exploration of mental health issues; it felt a little bit like two different plays in one, but it leaves the audience with a rich understanding of Emi’s identity crisis by the time we leave.

The cast includes Theater Mu regulars and several newcomers, and they’re a really fun crew. Meghan Kreidler deftly handles the role of Emi. No matter how serious or radical her character’s actions seem, Kreidler keeps them believable and touching. Damian Leverett is a joy as the shunned, mournfully #woke Collin; by leaning into the stereotype, he finds some kernels of truth about the white male experience that are new on the stage. Mikell Sapp is delightful as Emi’s best friend Leonard. I haven’t seen him on stage before and I sure hope this isn’t the last time. Danielle Troiano is equally lovely as Leonard’s girlfriend Veronica, bringing vulnerability and poise to the role. Eric Sharp is thoroughly, gut-splittingly hilarious as the Hot Asian Doctor Husband. His scenes were among my favorite in the show and I wish we got a little more of him. And eternal favorite Sun Mee Chomet is fabulous as the Mother characters, milking the most of her time on stage and making a great mentor to Maekalah Ratsabout, the young actress playing the child version of Emi.

The clever scenic design by Sarah Brandner is millennial approved and has all sorts of Ikea-style innovations that keep the action swiftly moving and the aesthetic clean. Costumes, by Jeni O’Malley, are equally well matched to the tone. Karin Olson’s lighting design and Katharine Horowitz’s sound design are subtle and warm, enhancing the action on stage (especially Horowitz’s original music, composed with Damian Leverett). And it’s good to see the importance of physical movement in comedy embraced by Magnolia Yang Sao Yia’s clever choreography and Lauren Keating’s intimacy consulting, a field I suspect we’ll see much more of on programs around #tctheater in this season and beyond.

Hot Asian Doctor Husband is one of the shows I was most excited for this year, and it doesn’t disappoint. Like any new play, there is some revision I’d do on a future iteration to help clarify the story – is it about Emi and Collin’s relationship, or her relationship with her mother? – but the content here is engaging and has a lot of potential. It’s a golden time for Asian Americans* in the rom com world, and Theater Mu’s consistently approachable and inspiring new work is a vital addition to the genre. Make sure to head to Mixed Blood Theatre to check it out before it closes on September 1; click here for more information or to buy tickets.

*If you want more shows like this one on the silver screen, you’re in luck! Here are a few in the last year that I have really loved: 

• Crazy Rich Asians (I also devoured the book series – highly recommend as perfect beach reads) 
• To All the Boys I’ve Loved Before (Probably my favorite on this list – keep an eye out for the sequel next year!)
• Always Be My Maybe (and don't miss Ali Wong's comedy stand-up specials, also on Netflix)
• Anything by Mindy Kaling - I especially love The Mindy Project, but Late Night and Four Weddings and A Funeral are also surefire bets. And although technically off the scope of this list, who could possibly forget The Office (the episodes Kaling authors are all my favorites)
• Fresh Off the Boat (Not technically a rom com but a hilarious comedy that does include winsome romance in some episodes and two of my favorite stars of movies listed above, Constance Wu and Randall Park)

The Brothers Paranormal is a Thrilling Nail-Biter

Although not my preferred genre, horror really seems to be having a moment these days. 

Thanks to brilliant filmmakers like Jordan Peele (Get Out, Us) and Ryan Murphy (American Horror Story), horror is becoming a nuanced, complex genre that many people share a love of. More than many genres it is a group fan effort, with people taking whole friend groups or hosting viewing parties to dissect the latest and greatest. 

That said, horror is not a genre often seen on stage. There are likely many reasons for this, but it makes those who do attempt productions stand out in the crowd. The Brothers Paranormal, a blended production equally co-produced by Penumbra Theatre and Theater Mu, is an excellent addition to this group and a true original in more ways than one. 

The Brothers Paranormal tells the story of two Thai brothers, Max and Visarut, as they make their first home site visit for their fledgling business investigating ghostly paranormal activity. Delia, a transplant from New Orleans, is terrified as she describes seeing an angry Asian woman who she is certain is a ghost. Thinking they are about to earn some easy cash, Max and Visarut immediately dispatch to Delia's home, where they meet her husband Felix and learn many unsettling details about the case. I don't want to reveal any more of the plot here because there are many important, unnerving surprises in this nail-biter of a script; instead, I'll just say that even the most jaded, experienced theater goer is likely to find plot twists here that they didn't expect, and it is a really exciting live experience. 

One of the unusual things about this show is that it truly blends different cultures (in this case Thai immigrant and African American), making both greater than the sum of their parts by their contrast. There were nuggets of cultural information and history tucked throughout the script that I didn't know before, and in addition to the thrilling action I was delighted to have learned a lot of new things by the end of the show. It helps that The Brothers Paranormal is perfectly cast, with a rock-solid group that brings so much nuance to their acting. Perennial favorite Regina Marie Williams is magnificent as Delia, making the ghostly visions totally believable. Sherwin Resurreccion is tenderly emotive as Max and brings a real depth to his role, leaving many of us teary-eyed on more than one occasion. Kurt Kwan brings necessary levity as Visarut, and James Craven is powerful as the concerned husband Felix. Michelle de Joya is positively terrifying as Jai (you'll know what I mean); hats off to her serious physicality. And the standout was new-to-me Leslie Ishii as Max and Visarut's mother Tasanee; Ishii was a warm, mysterious presence throughout the show, and her story was the most profound for me. I'd love to see her stay in the Twin Cities to work with more companies in the future. 

The set, designed by Vicki Smith, bears many hallmarks of Penumbra's recent shift in vision, with small but expertly crafted dioramas that hold all sorts of surprising, secret special effects. Combined with Mathew LeFebvre's simple costume design, we are able to stay focused on the tiny details that alert us to paranormal presence, and several are real wowzers. Karin Olson and Scott Edwards play several tricks through their respective lighting and sound design that had me on the edge of my seat, and Ruth Coughlin Lenkowski's dialect coaching provided nuanced characterizations for each generation of character in the show. Hats off overall to the direction from Lou Bellamy and assistant direction from Sun Mee Chomet; their clear vision provides a seamless integration of two very different companies, and this excellent production is better for both of their involvement. 

The Brothers Paranormal is a significant performance for several reasons. It's one of the best live horror shows I've seen on stage, anywhere; it combines two powerhouse but very different companies and provides a template for how to produce more integrated work in the future (which I surely hope to see); and it also marks by far the most ambitious outing for Theater Mu since the abrupt departure of their long-term artistic director, Randy Reyes. Bringing in Sun Mee Chomet to lead Theater Mu's portion of the production was an inspired choice and shows that Theater Mu is going to stay a strong presence in #tctheater regardless of the unexpected changes. I am very excited to see where Theater Mu's leadership search finally ends up, and if The Brothers Paranormal is any indication we have great things to expect in the future. 

If you're on the fence because of content, know that I loved this production despite being a person who hates being scared. It's a gripping and beautifully acted drama starring some of our finest local actors, and there's not a bad seat in the house to see the really special production design. I highly recommend readers check this out; for more information or to buy your tickets, click on this link. 

Reviewed in Brief: The Last Firefly by Theater Mu

What does community outreach mean to you? 

Photo courtesy of Mu Performing Arts

How about accessibility?

For a lot of people I imagine the definition would be pretty literal - have you invited people to attend your show? Do you have ramps and elevators for those who can't climb stairs? That's usually where those answers end.

I'd like to open a dialogue about a deeper kind of accessibility and outreach: Who gets to make art to begin with? Where do they perform it? How do they expand their group to organically include more and more types of people?

Theater Mu (Mu), one of my favorite local companies, really excels at this mission, and their latest show The Last Firefly takes it a step further. The Last Firefly is a zippy 70-ish minute script that tells a fable about how a girl (Boom) discovers who her father (Thunder) is; finds a long-lost sister (Lightning); makes friends with woodland creatures (Monkey and Spider); and rescues her mother (Kuroko) from her evil stepfather (Ax). Its a simple, animistic tale that I find a spare beauty in and really enjoyed at the Children's Theatre Company (CTC) a couple of years ago (click here for my review). Mu's staging is decidedly less lavish than CTC's, but it includes a lot more participation from untrained actors in the local community, and the contrast was really interesting to me.

The core actors are formed of Mu cast members and are surrounded with participation from local schools. Shina Xiong makes for a plucky Boom, and what she lacks in finesse she makes up for in great energy and spirit on stage. Gregory Yang clearly relishes playing the dangerous Ax, and I loved the clean lines and physicality Kajsiab "Jade" Yang brought to her role as the zesty Lightning. I think this is Daisuke Kawachi's first time directing Mu, and he incorporates many new faces we haven't normally seen in this crew. The results have mixed success, but I think that's okay - this is a very young crew overall, with many students in their first time ever on a professional stage, and they bring so much heart and energy to their parts.

And this last point is what I really wanted to get at with the conversation about outreach and accessibility. What better way to build a theater community - both in audiences and on-stage - than to take a risk and include students in your shows? It might not give a production a highly polished sheen like you'd see on a CTC or Guthrie stage, but it will inspire a passion in the hearts of those kids and pay it forward many times over as they grow older, learn more about theater, and one day decide how they want to remain engaged with that world. I think that's an honorable cause, and one I don't see a lot of local companies take.

The Last Firefly marks a new era and a fresh start for Mu in many ways; for that reason, this is going to feel decidedly different than their other work has over the last few years. Like any new beginning there are sidesteps and stumbles; this wasn't my favorite Mu show I've seen in recent memory. But all of that said, there are so many risky, new ideas here (like that troupe of excited young actors or an abstract set design that moves around the actors - instead of the actors around the set), and I appreciate that Mu is willing to take a chance on trying something different and moving forward in an innovative new way. Watching the students on stage brought back fond memories of my first experiences in theater - scared to death, intimidated by all those blinking eyes in the darkness, and the confidence it brought when I finally found my voice there. I have always liked the sweet script of The Last Firefly and the study in contrasts between this production and CTC's gives me lots of food for thought. I think there are important places for both approaches to this story, and I'd encourage curious readers to give this show a chance to see what you think. Click here for more information and to get tickets before the show closes at Steppingstone (such a cool local venue!) on April 7.

The Wolves Remains a Hit

Is anyone in #tctheater having a better year than Sarah Rasmussen? 

Photo by Dan Norman

Named the Star Tribune's 2018 Artist of the Year, Rasmussen must be flying on a cloud. The Jungle Theater has produced hit after sold out hit since she took the helm in 2015, and her fresh, female-forward perspective is boldly changing the kind of stories and the way those stories are told on #tctheater stages beyond her queendom in Uptown.

Thanks to this success, the Jungle now has two stages running concurrently for the first time ever! On their marquis space on Lyndale is The Children (which I reviewed a few weeks ago - click here for the link). Last night The Wolves, an immediate sell-out and the Twin Cities Theater Blogger's pick for best ensemble performance in 2018, re-opened at the Southern Theater on Seven Corners. I was one of the few unlucky souls who didn't manage to snag a ticket to last year's performance, so I was thrilled to get the chance to check it out this year. Spoiler alert: it was completely worth the wait.

Photo by Dan Norman

The Wolves is a true ensemble drama, depicting the pre-game chatter of a team of high school-aged soccer players as they stretch and warm up before their games. We hear them talk about tampons vs. pads; sneaking out to drink at parties; deeply debate the subject matter in their history homework assignments (Pol Pot vs. Hitler makes an appearance); struggle to feel seen and included; absorb a "new girl" who moves late into their tight knit circle; gossip about shared acquaintances; strategize how to beat their next opponent; support each other after their friends and family members die; and so much more. In short, it's the entirety of teenage girl's experiences told exclusively by teenaged girl characters, distilled into a zippy 95 minute drama that instantly captivated the audience.

Photo by Dan Norman

I think The Wolves is the perfect harbinger of the Jungle's success under Sarah Rasmussen, and let me tell you why: this show felt so organic, so natural in the flow of the season, and is so perfectly cast and produced, that you don't even realize how revolutionary it is. The Wolves moved me deeply despite the seemingly banal nature of its subject matter because I've never seen such an honest depiction of a teen girl's experience on stage. Obviously what The Wolves portrays is not an exact avatar for all teen girls' lives - there are always shades in everyone's experience of the world and the experiences collected here don't cross every race / sexuality / economic line - but overall it allows a frankness that isn't often allowed to women at all, let alone girls in their teenage years. Teens experience things like death or serious illness or injury all the time, but due to their young age it's often assumed that they are unaffected or don't understand the severity of such events. The experience boys have in puberty are infamously portrayed in all sorts of shows, from wet dreams to having sex with pies, to sneaking dirty magazines - but how often do you hear a tampon thrown around in casual conversation? Or using Plan B? It's revolutionary content because it is so commonly ignored, and bravo to Sarah Delappe for a fabulous script that unveils the layers of this experience in a way that all audience members (including the men, of which there were many), can relate to.

Photo by Dan Norman

Part of the success of The Wolves is also due to its tightly knit ensemble actors. All of this dynamic, spicy young cast has gone on to great things in other shows; just look at this lineup!

• Chloe Armao, who was part of the Guthrie's thoughtful Trouble in Mind
• Megan Burns, part of the stunning production of Little Women at the Jungle as well as shows with Mixed Blood, Theater Latte Da and other of my local favorite companies
• Michelle de Joya, who has delighted in several Mu Performing Arts productions including Flower Drum Song and Tot: the untold (yet spectacular) Story of a Filipino Hulk Hogan
• Becca Hart, who jumped into leading roles in Mary Poppins and Into the Woods after this performance
• McKenna Kelly-Eiding, who starred as Sherlock Holmes in Baskerville at Park Square Theatre, one of my favorite shows of last year
• Isabella Star Lablanc, also a standout in Little Women and who is breaking new ground as a Native American artist on stages and on film across the country
• And a host of up and coming young actresses who are certain to become well known, including Rosey Lowe, Shelby Rose Richardson, Meredith Casey, all of whom are backed up by local legend Jennifer Blagen

It was such a pleasure to watch them all engage in a public form of sisterhood, and I hope their impressive collaboration here allows for more shows with multiple women (hello Bechdel test!) on stages across the Twin Cities. This is a show that is clearly made by women, starring women, for women, and I can't express enough how meaningful that experience was for me. I am so glad the Jungle decided to re-mount this excellent production, and if you didn't get a chance to see it the first time around it absolutely deserves a look. The run goes through February 17 and if last night's packed stage (despite the polar vortex) is any indication, you'll want to snap up your tickets immediately because this one is sure to sell out again. For more information about the dynamic, the powerful, the incredible play The Wolves, click here to see more and to buy those tickets.

I'm Addicted to Theater Mu's Latest Show

When is the last time you saw a show authored by a local playwright? 

Photo courtesy of Theater Mu

How about a local female playwright?

How about a local Hmong female playwright?

I'm with you - Theater Mu's latest world premiere was a first for me too, and if the fun production I saw is any indication, I need to seek out more of May Lee-Yang's work ASAP.

Friday saw the world premiere of The Korean Drama Addict's Guide to Losing Your Virginity (KDAGLYV), a new work commissioned by Theater Mu. It was exactly what I needed to see that night and has all of the hallmarks of my favorite romantic comedies: it's witty, wry, wise, and totally charming.

Photo by Rich Ryan

KDAGLYV tells the story of Gao Hlee, an almost-30 year old personality coach who dreams of finding her partner and starting a family; the problem is that between her workaholism and addiction to Korean dramas, she has almost no time to actually date anyone, and the prospects seem limited. Once Gao begins working for Benedict, a wealthy CEO of a Korean company recently transplanted to Minnesota to build his family's business in the Midwest, everything changes. Gao's blunt
American style captivates Benedict, who undergoes a radical change from his frigid traditional persona. Benedict's right hand man, Secretary Kim, finds a true community in the U.S. and is liberated from the strict role he acquired in Korea, thanks to Gao's best friend Z. Gao's mother illuminates the life of a Hmong immigrant in the U.S.; Benedict's mother Madame Song gets the ultimate ghostly comeuppance (I can't say more, you have to see it to understand - but it's awesome); and Gao's cousin Tou Mong is left alone in his cause for Hmong men's rights.

Photo by Rich Ryan

There's so much more happening in KDAGLYV than that speedy overview can share, but suffice it to say: this show is just so fun! I don't know enough about Hmong life or the life of Asian Americans in Minnesota, and I learned so much from the dialogue between these characters. I'm just beginning to venture into the world of Korean dramas, and the cameos from various Korean drama shows throughout the play were hilarious and really helped lighten the mood. There's some magical realism thanks to the presence of strategic ghosts, and overall I found KDAGLYV to be a totally fresh, unique story that had me invested from the very beginning.

Photo by Rich Ryan

Part of my enjoyment was from the terrific young cast, almost all of whom are totally new-to-me actors. Dexieng Yang is wonderful as Gao Hlee, with a bubbly yet direct quality that reminds me of Reese Witherspoon's demeanor. Brian Kim leads Benedict's character through a radical transition with ease, and he and Yang have just the right kind of chaste chemistry this story needs (and he sings a wicked karaoke number). Clay Man Soo is utterly charming as Secretary Kim, and his youthful naivete is a great foil to Khadija Siddiqui's tough demeanor as the no-bullshit Z. Katie Bradley is delightfully evil as Benedict's exacting mother Madame Song, and Phasoua Vang has a warm, direct delivery as Gao's mother that reminds me of many other real-life immigrant mothers I know.

Photo by Rich Ryan

Like many of my favorite sets from Theater Mu, this one is simple but has clever blocking that always tells you where you're at and provides occasional surprises. Most of the scenic design, by Sarah Brandner, involves different sized boxes arranged to indicate cars, a bar, or office furnishings. Simple but evocative props (by Abbee Warmboe) like steering wheel give us all we need to follow the action. Samantha Fromm Haddow's costume design is classy and colorful, with each character looking sharply dressed throughout. And the lighting and sound design (by Karin Olson and Matthew Vichlach, respectively) provides just enough magic for us to be entranced by Gao and Benedict's unlikely love story.

Photo by Rich Ryan

The Korean Drama Addict's Guide to Losing Your Virginity is just the kind of fresh, interesting new stories that I love to see on stage (and that Theater Mu does so well). It's once again proof that not everything needs to have a giant budget and shiny accouterments to be worthy of watching. Like any brand-new work there are some kinks here, but I wholeheartedly enjoyed myself, and I'm so glad that KDAGLYV exists. May Lee-Yang is an exciting new voice in the playwright world, and I can't wait to see what she dreams up next. In the meantime, I'd love for Netflix to pick up this script and bring it as a serialized show to televisions everywhere - I'd binge the heck out of it. Please stop by Park Square Theatre to see this delicious new play before it closes on August 19; click here for more information or to buy tickets.

A Thrilling Two Mile Hollow

Who doesn't need more opportunities to laugh?

I have to say, I am absolutely loving all of the terrific comedies cycling through Twin Cities theaters lately. Don't get me wrong, I love a good drama - but with the currently contentious state of American politics let's be honest: we all could use an extended break from #reallife.

The latest offering from Mu Performing Arts, Two Mile Hollow, is a brilliant addition to the comedic wave sweeping through #tctheater. The play is a spoof of what is known as the genre of 'white people by the water,' a funny way of saying stories about super wealthy white people living in their mansions and complaining about their ridiculous sets of problems. The story features a wealthy family in their estate called Two Mile Hollow. Blythe, the matriarch, is selling the property and her daughter Mary and stepsons Joshua and Christopher have congregated to say goodbye (or more honestly to gossip about and snipe at each other). The script discusses their horrific relationships with each other as well as their uncomfortable interaction with Charlotte, Christopher's lower-class personal assistant and lover on the down-low. The big twist? These overtly privileged, prejudiced characters are played by an all-Asian cast, adding an elevated level of satire and silent commentary on their wholly ridiculous antics. The best encapsulation I can think of is that the events of Two Mile Hollow lie somewhere between Gossip Girl, Get Out and any of The Real Housewives TV series. It manages to be wholly entertaining but subversive, and the cartoony manner the actors inhabit keeps it from feeling less derogative than trenchant.

Photo by Rich Ryan

The cast for this show is fabulous and features many of my local favorites, beginning with the endlessly jocose Sun Mee Chomet. I've known about her searing comedic chops for some time and they are brilliantly on display here; she had me laughing before even saying a line, barely emerging on stage with an awkwardly dilletante carriage that couldn't be funnier. She's a riot and I only wish we'd seen more of her. Meghan Kreidler is terrific as Charlotte, easily carrying the show's moral compass on her shoulders with an emotive and piercing performance, especially at the play's close. Eric Sharp and Sherwin Resurreccion are in their best roles yet as Christopher and Joshua, respectively. Sharp's parody of a self-important movie star is guttingly humorous and performed with total ease. It's been such a pleasure seeing Resurreccion's career evolve, and he is clearly confident and comfortable with this cast, pulling out all sorts of silly antics and an unexpected but brilliant touch of pathos in his role. Kathryn Fumie is pointed as the overlooked Mary, delivering a few striking surprises in her rants.

Photo by Rich Ryan

The set, designed by Joseph Stanley, remains placed inside the cohabited rooms inside Two Mile Hollow, with beachy Nantucket vibes, a startlingly delicate house frame, and just enough props (from Abbee Warmboe) to make it feel like a retreat. A delightfully "sandy" garden planter, which became the focus of a fight over Charlotte's affections, spilled out across the stage and was my favorite element of the production design. The costumes by Joanne Jongsma could all be cropped straight from a J. Crew catalog and further reinforces the snooty attitudes of these one-percenters.

Photo by Rich Ryan

Two Mile Hollow is a fine kickoff for Mu Performing Arts' 2018 theater season. It's sharp, it's smart, and like so much of Mu's work, Two Mile Hollow does a great job of subverting traditional narratives and making its audience think without even knowing they're doing it. It's a wonderful opportunity to see some of the best of our local theater artists perform together (and clearly have a blast doing so). We never stopped laughing from the moment we sat down; what a gift it is to find such light and joy in such dark times. We could all use our own personal laugh track these days, so head to Two Mile Hollow to lighten the mood a little. Click here for more information or to get tickets to Two Mile Hollow, which closes on March 4.

Best of 2017: My Favorite Theater Performances and Top Blog Posts

No annual roundup would be complete without a listing of the top performances I saw last year. 

The most exciting exchange I've ever had on Twitter. 

If I had to sum up my feelings about the Twin Cities theater scene in 2017 in just a few words, I'd leave you with these: diverse, general excellence.

It's hard out here at times for someone who sees a lot of shows to write reviews. There are so many companies doing so many different things that they often don't belong in the same categories. The quality in general tends to be very high from show to show and it's quite rare that I see something that I totally despise or just can't support. I hate to sound like a recurring positive broken record, but I genuinely enjoy 90+% of everything I see and I want you all to know how much I love the amazing work amassed by our talented theatrical community as I engage with it.

So with all that in mind, let me introduce you to my favorites of 2017, shows that I can't stop telling people about even months after they've closed and that I desperately wish would return in all of their glory. I'm thoroughly excited for the upcoming seasons from each of these wonderful companies and let me know: what were your favorites? Do you disagree with any of my choices? What are you looking forward to in 2018?

*Note: all shows are listed in order of when I saw them throughout the calendar year. 

**Note: all photos were used with permission from the theater/company and are sourced in my original reviews, which are linked below. Please click through to find credit. 

1. Vietgone (read my original review here) 

This was the first must-see performance of last year for me and it cemented the extraordinary cast - including perennial favorites Meghan Kreidler and Sun Mee Chomet, as well as new-to-me David Huynh - as must-sees in any upcoming performances. I wrote about Vietgone that it was "Hamilton meets Kendrick Lamarr meets the Vietnam War, and it's sublime" - words I still vouch vociferously for to this day. From the witty dialogues to the sexy, serious subject matter, Vietgone brought an untold American perspective to vibrant, throbbing life.

2. Girl Shakes Loose (read my original review here)

I didn't label Girl Shakes Loose as a must-see when I saw it as I had just posted my Vietgone review and I thought two raves in a row was too many. I've regretted that ever since. This edgy, thoroughly modern world premiere musical told the story of a bisexual millennial in a completely new way (both musically and narratively), and I've thought of it often since it left the stage. Girl Shakes Loose starred many terrific young African American actors who are sure to become stars in the Twin Cities theater scene and the only phrase I can use to describe it appropriately is screaming fresh. Girl Shakes Loose didn't get nearly the amount of press it deserved when it came around last year; here's to hoping it comes back and gets more attention.

3. The Boy and Robin Hood (read my original review here) 

Is there anyone more ambitious right now than Tyler Michaels (except for Kory LaQuess Pullam, of course)? A cornerstone of an excellent passel of hyper-talented young performers making their rounds in the Twin Cities theater scene these days, Michaels has moved himself from starring roles to working behind the red velvet curtains in the director/producer/choreographer's chair, and the early fruits of his labors are promising indeed. Michaels' new venture, Trademark Theater, is not only performing new work but writing and scoring all of that work at the same time. I was thoroughly impressed with this new take on Robin Hood and it was easily one of my favorites last year. Trademark has a few growing pains to work out but have no fear: the path they are on is fantastic, entertaining, and bright indeed.

4. Little Wars (read my original review here)

I've been so excited to see the explosion of women on stage and behind the scenes, and one of the most promising new developments is the work of Prime Productions. Concentrated on telling the stories of "women of a certain age," Prime Productions got off to a banging start with Little Wars. I was delighted to see such a strong group of female performers and learned so much about a period in history I knew little about. Prime Productions fills a vital hole in our theatrical community, and I can't wait to see what they'll be up to next.

5. Native Gardens (read my original review here)

What can I saw about Native Gardens that I haven't already said? This brilliant, masterful comedy from Karen Zacarias was an immediate standout when I saw it last summer. The set is one of my favorites I've ever seen, but even that was totally outshadowed by the delicious performances from this tight four-person cast. Covering any political issue you can think of (from immigration to women at work to motherhood to gentrification) with finesse and biting honesty, this Guthrie production was pitch-perfect from start to finish.

6. The Immigrant Journey Project (read my original review here)

Mu Performing Arts has always been one of my go-tos for fresh, totally original work, and their Immigrant Journey Project was totally unlike anything I've ever seen. Created with the benefit of grants and participation from local immigrant communities, this show told many diverse, real-life stories of the ways that immigrants came to Minnesota through beautiful vignettes and brightly designed puppets. The unpolished, raw performances from local immigrants, several of which were translated from their tribal languages into American English, were moving and vital, and I thought of them long after the lights turned up. The Immigrant Journey Project was everything that Refugia (which had a much larger budget, profile and press coverage) should have been, and I hope we get a series in this vein with Mu at the helm.

7. In The Heights (read my original review here) 

Lin Manuel Miranda is the rare example of a celebrity whose praises may actually be undersung. Many people know Miranda for his work on Hamilton and Moana, but before they existed he created In The Heights, a beautifully performed musical at the Ordway this year. In The Heights proved that you don't need to travel to New York City to get a full on, spectacular, Broadway-caliber theatrical performance; instead, you can stay right here and indulge in top-notch work at one of our many theatrical gems. There are few things I would gladly purchase tickets to watch again and again within a limited week-long run; In The Heights was one of them. That is all you need to know.

8. Man of La Mancha (read my original review here)

Man of La Mancha is one of those revered musicals that has never done much for me. It's fine, whatever, I'm tired just thinking about it - except in relation to the fabulous rendition performed by Theatre Latte Da last fall. Featuring a terrific cast with several new-to-me actors (who I am dying to see come back in roles in other local shows), Man of La Mancha made me fall in love with a musical I thought I'd never care about. The inventive staging, hearty musicality and inventive costumes sold me from the get-go as well as on future productions from Theatre Latte Da.

9. Wedding Band (read my original review here)

Wedding Band was one of the shows I was most excited to see last year, and the Penumbra's production exceeded all of my high expectations. Starring a revelatory Dame-Jasmine Hughes, Wedding Band is the only play I've seen to-date that tells the truth - the whole beautiful, painful, terrifying truth - of interracial relationships in the United States. It moved me from start to finish and gave an articulate voice to many of the struggles I face in my own interracial relationship, and I can't recommend it highly enough if you ever get the chance to see it.

10. The Christmas Carol (read my original review here) 

I know, I know - how on earth did the Guthrie's perennial holiday show make my list? I'm as surprised as you are, but let me tell you: I was blown away by the fresh staging by this first-ever female directed production. With select performances featuring a woman in the role of Ebeneezer Scrooge, a noticeably diverse cast, an expertly trimmed script and a gloriously lavish set, this Christmas rerun entranced me from the get-go and was one of my most recommended shows over the holiday season.

11. Phantom of the Opera (read my original review here) 

Another pick that's not the most original, but I make no apologies. Phantom of the Opera has been a favorite show for my entire life, and the re-imagined set in this production (which runs through tomorrow - you can still grab a ticket if you dare!) is still my favorite I've ever seen. In my life. Of all time. It's lavish, it's transportive, and combined with the experience of seeing the first ever African American actor I've seen in the role of Phantom (my favorite second only to Michael Crawford, a testimony in itself), this was a top-notch production that I am not ashamed to ring the bell for.

12. Dot (read my original review here)

Dot was one of the most unexpected surprises on my best-of list this year. The summary - a story about a woman suffering from Alzheimers and her family over the holidays - isn't terribly engaging and sounds downright depressing. But what I found in this lovely gem of a show was education about an increasingly common disease, terrific ensemble performances, and a bevy of hilarious scenarios that brought teeming life and realistic elements to what otherwise would have been a devastating, heartbreaking story. It rung true from my real-life experience with Alzheimer's in my family and is a show that I hope generates more press attention than it's currently received. You can still get tickets (and I highly encourage you to) through early January.

And while I'm at it, here are some other favorite pieces I wrote last year: 

1. Some thoughts on high-end restaurants and racist servers
2. Wrestling with Refugia at the Moving Company
3. Compendium celebrates its 5 year anniversary 
4. Pixar comes to the Science Museum 
5. Why everyone needs to see Wonder Woman
6. Thrillist: The Best Small Towns in Minnesota
7. Living the podcast dream
8. The Penumbra Theater celebrates 40 years at the Minnesota Historical Society
9. The top 10 reasons to see Romeo and Juliet (again)
10. Why the Lynx deserve more
11. Thrillist: Best New Restaurants of 2017
12. The best books I read in 2017

Don't just take my word for it! Don't miss the best of year posts from some of my other TCTB blogger friends below: 

Cherry and Spoon: click here
MN Theater Love: click here
Play off the Page: click here

IVEY AWARDS: 2017 Recap

Who were you rooting for? 

I got to sit by Jill Shafer of Cherry and Spoon

The 2017 Ivey Awards wrapped up on Monday night, and as usual they involved a lot of laughs, drinks, and love for the theater. What are the top things I enjoyed about this year's show? Let me count the ways:

1. Michelle Hensley, Michelle Hensley, Michelle Hensley: Could there be a more deserving winner for the Lifetime Achievement Award? Absolutely not. Many of us were bummed out when Hensley announced her retirement from the legendary Ten Thousand Things theater company that she founded earlier this year. She will be irreplaceable and highly missed, but in the meantime it was wonderful to see the life changing work she has instituted honored by a room of her peers. Hensley is literally the definition of leading by example and putting your money where your mouth is. If you don't know much about Ten Thousand Things, check out more by clicking on this link - and then promptly run to buy tickets for their new season. I'm not kidding around: this company will revolutionize the way you think about theater and change your life. We owe Michelle a whole, whole lot, and I sure hope she has something else up her sleeve. Her acceptance speech is the most moving I've heard to date; you can find a good selection on my Instagram account here or One Girl Two Cities, here.

2. Meghan Kreidler for Best Emerging Artist: This is the only annual award outside of the one for Lifetime Achievement. A past list of winners includes luminaries like Tyler Michaels King, Trevor Bowen, Mikell Sapp, Ricardo Vázquez, and Isabel Nelson. This year the honor was bestowed on Meghan Kreidler, who has quickly become one of my absolute favorite local actresses. She starred in my first MUST SEE performance this year in Vietgone (more here) and is currently starring in the truly excellent performance of Man of La Mancha from Theater Latte Da (more here). Kreidler is a powerhouse to watch, and she's got a spectacular future ahead of her. 

3. Vietgone was the First Award Winner: As mentioned above, Vietgone was one of my absolute favorite shows of this year (and ever, honestly). I was so thrilled to see this excellent work recognized right away, as well as reprise a performance from the show during the Ivey's ceremony. I'd love to see this again; wondering why I loved it so much? Revisit my review here and learn more.

4. The Production was Tight as a Drum: Despite starting the show very late this year, everyone was in and out in well under two hours. Theaters, take note: if we can get through celebrating an entire year's worth of performances, an in memoriam, and 8 variety show performance numbers this quickly, your shows don't have to run as long as they typically do. I promise. It can be done.

5. Thomasina Petrus: I have loved Regina Marie Williams' work over the last couple of years as a host, but switching things up can be a good thing too. It was great to see Thomasina Petrus co-hosting the show this year, and her lovely, lyrical voice added a lot to the musical performances. Thomasina has long been an artist I admire locally, so I really enjoyed seeing her get in front of a big event.

6. Much Love for Volunteer Work: The Ivey Awards celebrate the best of the best in Twin Cities theater scene. Evaluations are completed by more than 150 volunteers, who comb theaters all over the Twin Cities for the best of the best. This might not sound like much, but it's a daunting task; last year, the evaluators saw more than 1,100 shows between September 2016 and August 2017 (aka three shows PER DAY in order to cover it all). It's a pretty incredible feat, and major kudos go to the awesome people putting time in to keep the awards running and to see all those shows!

7. Kasano Mwanza in "Beauty School Dropout:" I was pleasantly surprised by how much I enjoyed Grease earlier this year at the Chanhassen Dinner Theaters. Know what really knocks that show out of the park? Kasano Mwanza, who singlehandedly brings down the house with his ripping rendition of "Beauty School Dropout." Talk about someone who knows how to steal the show (it's literally his only appearance, and it's the first thing you remember months after leaving). Mwanza opened the Iveys this year, and his tour de force performance had the audience engaged from the first note. He's a star, full stop.

For a full list of winners, see as follows: 

• Ensemble, Vietgone, Mixed Blood Theatre - Sun Mee Chomet, David Huynh, Meghan Kreidler, Flordelino Lagundino and Sherwin Resurreccion
• Production Design & Execution, Six Degrees of Separation, Theater Latté Da, 
Abbee Warmboe, Barry Browning, Sean Healey, Kate Sutton- Johnson, Bethany Reinfeld and Alice Fredrickson
• Concept & Execution, Safe at Home, Mixed Blood Theatre
• Actor, Nilaja Sun, Pike St., Pillsbury House + Theatre
• Director, Noël Raymond, The Children, Pillsbury House + Theatre
• Emotional Impact, Wit, Artistry
• Actor, Steven Epp, Fiddler on the Roof, Ten Thousand Things
• Actors, Sun Mee Chomet & Sherwin Resurreccion, The Two Kids That Blow Shit Up, Theater Mu
• Overall Excellence, Ragtime, Theater Latté Da
• Emerging Artist, Meghan Kreidler
• Lifetime Achievement, Michelle Hensley

What did you think of this year's winners? Who missed out? I'd love to hear your thoughts!